The Last Man In Europe

This “riveting novel about Orwell’s last days” takes readers inside the renowned author’s mind as he creates his final dystopian masterpiece (New Statesman). April, 1947. In a run-down farmhouse on a remote Scottish island, George Orwell begins his last and greatest work, Nineteen Eighty-Four. Forty-three years old and suffering from the tuberculosis that within three winters will take his life, Orwell comes to see the book as his legacy—the culmination of a career spent fighting to preserve the freedoms which the wars and upheavals of the twentieth century have threatened. Completing the book is an urgent challenge, a race against death. In this masterful novel, Dennis Glover explores the creation of Orwell’s classic work which defined the twentieth century for millions of readers worldwide—and has continued to prove its unnerving relevance in the twenty-first. Simultaneously a captivating drama, a unique literary excavation, and an unflinching portrait of a writer, The Last Man in Europe will change the way we understand both our enduringly Orwellian times and Orwell’s timeless masterpiece.

1947. In a damp, run-down farmhouse on the island of Jura, George Orwell is embarking on his greatest work: Nineteen Eighty-Four. Forty-four years old and suffering from the tuberculosis that will eventually take his life, this book is his legacy – the culmination of a career spent fighting to preserve the freedoms which the wars and upheavals of the twentieth century have threatened. Completing the book is an urgent task – a race against death. Dennis Glover explores the creation of Orwell's final work, which for millions of readers worldwide defined the twentieth century. Simultaneously a captivating drama, a unique literary excavation and an unflinching portrait of a beloved writer, The Last Man in Europe will change the way you understand Nineteen Eighty-Fourand George Orwell himself.

GQ (Italy) called Davide Longo, "the most talented and intense Italian novelist of his generation." In this dystopian, post-apocalyptic literary novel, Italy is on the brink of collapse: borders are closed, banks are refusing to distribute money to their clients, the postal service is shuttered, and food supplies are running short. Armed gangs of drug-fueled youth rampage through the countryside as the nation descends into chaos. Leonardo was once a famous writer and professor before a sex scandal ended his marriage and his career. With society collapsing around them, his ex-wife leaves their daughter and son in his care as she sets off in search of her new husband, who is missing. Ultimately, Leonardo is forced to evacuate and take his children to safety, but to do so he will have to summon a quality he has never exhibited before: courage.

Little more than seventy years after the British settled Van Diemen's Land (later Tasmania) in 1803, the indigenous community had been virtually wiped out. Yet this genocide at the hands of the British is virtually forgotten today. The Last Man is the first book specifically to explore the role of the British government and wider British society in this genocide. It positions the destruction as a consequence of British policy, and ideology in the region. Tom Lawson shows how Britain practised cultural destruction and then came to terms with and evaded its genocidal imperial past. Although the introduction of European diseases undoubtedly contributed to the decline in the indigenous population, Lawson shows that the British government supported what was effectively the ethnic cleansing of Tasmania - particularly in the period of martial law in 1828-1832. By 1835 the vast majority of the surviving indigenous community had been deported to Flinders Island, where the British government took a keen interest in the attempt to transform them into Christians and Englishmen in a campaign of cultural genocide. Lawson also illustrates the ways in which the destruction of indigenous Tasmanians was reflected in British culture - both at the time and since - and how it came to play a key part in forging particular versions of British imperial identity. Laments for the lost Tasmanians were a common theme in literary and museum culture, and the mistaken assumption that Tasmanians were doomed to complete extinction was an important part of the emerging science of human origins. By exploring the memory of destruction, The Last Man provides the first comprehensive picture of the British role in the destruction of the Tasmanian Aboriginal population.

Ever since its first publication in 1992, The End of History and the Last Man has provoked controversy and debate. Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.

New English translation of this “demise of the human race” story.

NEW YORK TIMES BESTSELLER Paris, 1938. As the shadow of war darkens Europe, democratic forces on the Continent struggle against fascism and communism, while in Spain the war has already begun. Alan Furst, whom Vince Flynn has called “the most talented espionage novelist of our generation,” now gives us a taut, suspenseful, romantic, and richly rendered novel of spies and secret operatives in Paris and New York, in Warsaw and Odessa, on the eve of World War II. Cristián Ferrar, a brilliant and handsome Spanish émigré, is a lawyer in the Paris office of a prestigious international law firm. Ferrar is approached by the embassy of the Spanish Republic and asked to help a clandestine agency trying desperately to supply weapons to the Republic’s beleaguered army—an effort that puts his life at risk in the battle against fascism. Joining Ferrar in this mission is a group of unlikely men and women: idealists and gangsters, arms traders and aristocrats and spies. From shady Paris nightclubs to white-shoe New York law firms, from brothels in Istanbul to the dockyards of Poland, Ferrar and his allies battle the secret agents of Hitler and Franco. And what allies they are: there’s Max de Lyon, a former arms merchant now hunted by the Gestapo; the Marquesa Maria Cristina, a beautiful aristocrat with a taste for danger; and the Macedonian Stavros, who grew up “fighting Bulgarian bandits. After that, being a gangster was easy.” Then there is Eileen Moore, the American woman Ferrar could never forget. In Midnight in Europe, Alan Furst paints a spellbinding portrait of a continent marching into a nightmare—and the heroes and heroines who fought back against the darkness. Praise for Alan Furst and Midnight in Europe “Furst never stops astounding me.”—Tom Hanks “Furst is the best in the business.”—Vince Flynn “Elegant, gripping . . . [Furst] remains at the top of his game.”—The New York Times “Suspenseful and sophisticated . . . No espionage author, it seems, is better at summoning the shifting moods and emotional atmosphere of Europe before the start of World War II than Alan Furst.”—The Wall Street Journal “Endlessly compelling . . . Furst delivers an observant, sexy, and thrilling tale set in the outskirts of World War II. In Furst’s hands, Paris once again comes alive with intrigue.”—Erik Larson “Too much fun to put down . . . [Furst is] a master of the atmospheric thriller.”—The Boston Globe

Spring 1916, and three great armies - French, British and, on the other side of the wire, German - are locked in a stalemate of mud and blood on Europe's Western Front. On the ground, young British soldiers lose their innocence in the hell that is No Man's Land, while in the skies above the trenches a new breed of warrior, armed with a devastating new weapon, comes of age. As the conflict stretches into its third year, a neutral but woefully unprepared and ill-equipped America is slowly goaded into war. It falls to General John Pershing to galvanise his country's army into readiness and as the first American troops reach the front in 1917, the world waits to see if the tide of a war that has already cost millions of lives can at last be turned. Combining an historian's eye for detail with a novelist's understanding of man's hopes and fears, Shaara carries the reader into the hearts and minds of some of the war's most memorable characters, from the heroic to the infamous, and vividly brings to life one of the greatest conflagrations in human history.

* * * Special 75th Anniversary Edition * * * Hugh Sebag-Montefiore's Dunkirk: Fight to the Last Man tells the story of the rescue in May 1940 of British soldiers fleeing capture and defeat by the Nazis at Dunkirk. Dunkirk was not just about what happened at sea and on the beaches. The evacuation would never have succeeded had it not been for the tenacity of the British soldiers who stayed behind to ensure they got away. Men like Sergeant Major Gus Jennings who died smothering a German stick bomb in the church at Esquelbecq in an effort to save his comrades, and Captain Marcus Ervine-Andrews VC who single-handedly held back a German attack on the Dunkirk perimeter thereby allowing the British line to form up behind him. Told to stand and fight to the last man, these brave few battalions fought in whatever manner they could to buy precious time for the evacuation. Outnumbered and outgunned, they launched spectacular and heroic attacks time and again, despite ferocious fighting and the knowledge that for many only capture or death would end their struggle. 'A searing story . . . both meticulous military history and a deeply moving testimony to the extraordinary personal bravery of individual soldiers' Tim Gardam, The Times 'Sebag-Montefiore tells [the story] with gusto, a remarkable attention to detail and an inexhaustible appetite for tracking down the evidence' Richard Ovary, Telegraph Hugh Sebag-Montefiore was a barrister before becoming a journalist and then an author. He wrote the best-selling Enigma: The Battle for the Code. One of his ancestors was evacuated from Dunkirk.

Russia is dying from within. Oligarchs and oil barons may still dominate international news coverage, but their prosperity masks a deep-rooted demographic tragedy. Faced with staggering population decline—and near-certain economic collapse—driven by toxic levels of alcohol abuse, Russia is also battling a deeper sickness: a spiritual one, born out of the country’s long totalitarian experiment. In The Last Man in Russia, award-winning journalist Oliver Bullough uses the tale of a lone priest to give life to this national crisis. Father Dmitry Dudko, a dissident Orthodox Christian, was thrown into a Stalinist labor camp for writing poetry. Undaunted, on his release in the mid-1950s he began to preach to congregations across Russia with little concern for his own safety. At a time when the Soviet government denied its subjects the prospect of advancement, and turned friend against friend and brother against brother, Dudko urged his followers to cling to hope. He maintained a circle of sacred trust at the heart of one of history’s most deceitful systems. But as Bullough reveals, this courageous group of believers was eventually shattered by a terrible act of betrayal—one that exposes the full extent of the Communist tragedy. Still, Dudko’s dream endures. Although most Russians have forgotten the man himself, the embers of hope that survived the darkness are once more beginning to burn. Leading readers from a churchyard in Moscow to the snow-blanketed ghost towns of rural Russia, and from the forgotten graves of Stalin’s victims to a rock festival in an old gulag camp, The Last Man in Russia is at once a travelogue, a sociological study, a biography, and a cri de coeur for a dying nation—one that, Bullough shows, might yet be saved.